The pursuit of understanding horses is an odyssey without end. Just when one aspect is grasped, another question arises, beckoning further exploration. While this cycle may deter some, for me, it serves as a wellspring of energy, propelling me forward in the quest to comprehend these magnificent creatures.
Concept of Liberty Horse Training
A recent post by Ross Jacobs of Good Horsemanship titled “What is trick and what is not?” sparked my interest in delving into the realm of horses in liberty versus liberty horse training. This exploration extends to discerning between tricks and haut ecole movements, not to pass judgment, but to foster education and understanding.
In this blog, I aim to embark on a multi-part exploration of “Liberty Horse Training.” In this initial installment, I’ll lay the groundwork by defining key terms:
1. Liberty: The essence of freedom, allowing horses to live in a manner that aligns with their natural state. It encompasses meeting their physical, social, and emotional needs, enabling them to express their natural behaviors unhindered. Carolyn Resnick’s work, particularly her book “Naked Liberty,” beautifully encapsulates this understanding.
2. Horse: A member of the equine species, characterized by its herd mentality, hierarchical structure, and status as a prey animal. Understanding the innate nature and behaviors of horses is crucial in any training endeavor.
3. Training: The process of enhancing knowledge and skills to improve performance. In the context of liberty horse training, it involves working with horses without tack, allowing them freedom of movement while responding to trained cues.
Exploring these definitions provides a foundation for deeper exploration into the topic.
Circensic and Haute Ecole: A Historical Tapestry
To understand the evolution of liberty horse training, we must journey through history, where the threads of circensic performance and classical haute ecole intertwine.
Spanish Riding School 1783
The modern circus, with its captivating equestrian acts, traces its origins back to 18th century Europe. Pioneers like Philip Astley and Charles Hughes transformed horsemanship into spectacle, dazzling audiences with displays of skill and artistry. These early circus performances laid the groundwork for what would become a rich tradition of equestrian entertainment.
Simultaneously, in the hallowed halls of Europe’s classical dressage schools, a different form of horsemanship was taking shape. Institutions like the Spanish Riding School in Vienna and the Cadre Noir in Saumur honed the art of haute ecole, refining movements that were once vital in warfare into displays of grace and precision.
The Link Between Circus and Haute Ecole
While seemingly disparate, the worlds of circus and haute ecole share a common thread: the bond between horse and handler. In both arenas, mastery of movement and communication is paramount, whether executing a levade in the hallowed halls of the Spanish Riding School or performing a capriole under the big top.
As circus acts evolved, incorporating elements of classical dressage alongside acrobatics and showmanship, the lines between entertainment and artistry blurred . Performers like Fredy Knie Sr., renowned for his skillful liberty performances with Lipizzaner stallions, epitomized this fusion of tradition and spectacle The Knie Dynasty – Circupedia. One has to only check out these photos.
Fredy Knie Sen
Embracing Tradition in Liberty Horse Training
In the pursuit of liberty horse training, we draw upon this rich tapestry of tradition and innovation. We honor the legacy of circus performers and haute ecole masters alike, recognizing the importance of trust, respect, and communication in our interactions with horses. These we will cover in more depth in the next blog prior to delving into the world of liberty horse training. Let’s embrace the endless journey of learning and discovery. Let’s strive to understand and respect the innate nature of horses while fostering trust and mutual respect in our training endeavors.
Enjoy your horses until next time.
